Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Czech Republic and from Paris.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1971.
I'm losing my edge.
To all the kids in Cairo and Paris.
I'm losing my edge to the art-school Tehran kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Human League practice in a loft in Sheffield.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Dark Day to the electroclash kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Delta 5. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Scion record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
the Soft Cell,
Pole,
Avey Tare's Slasher Flicks,
Traffic Nightmare,
Gabor Szabo,
China Crisis,
Flash Fearless,
James White and The Blacks,
Wasted Youth,
D'Angelo,
Todd Rundgren,
FM Einheit,
Gong,
Grey Daturas,
The Gladiators,
Japan,
Vladislav Delay,
The Stooges,
B.T. Express,
Gian Franco Pienzio,
Jeff Mills,
The Dirtbombs,
Deadbeat,
Matthew Bourne,
Marmalade,
Desert Stars,
Babytalk,
Monolake,
The United States of America,
Hot Snakes,
Wighnomy Brothers & Robag Wruhme,
Alice Coltrane,
Television Personalities,
Unrelated Segments,
Bobby Byrd,
Tim Buckley,
Scrapy,
The Mummies,
Piero Umiliani,
Cameo,
F. McDonald,
Electric Light Orchestra,
Nick Fraelich,
Excepter,
Gil Scott-Heron & Brian Jackson,
Stereo Dub,
Gil Scott-Heron and Jamie xx,
The Fuzztones,
Idris Muhammad,
Josef K,
Schoolly D,
Fluxion,
The Young Rascals,
Hardrive,
Harmonia,
Das Ding,
The Invisible,
David Bowie,
Negative Approach,
Kango’s Stein Massive,
Radiopuhelimet,
Television, Television, Television, Television.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.